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Exporting obj to Maya and best settings

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  • danielemanassero

    Hi teddyg, this time I'm not able to help you too much, sorry.
    For the mesh question, yes you can change the mesh type in Clo at least for the patterns.

    Select them all, search in the property panel: Miscellaneous, expand the menu, change triangle to quad

    Daniele.

     

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  • ottoline

    The main reason you model is so large is due to the 3D stitching you are exporting along with the 3D model patterns.

     

    Better to import your buckles etc as trim/objects. You can expand the 'avatars' tab on export and make sure your buckles are listed and selected.

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  • teddyg

    Thank you very much- I appreciate your help

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  • yuanyuchai518

    how  to  design handbag in CLO3D? I will buy the   video .

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  • ottoline

    There are a number of free informative videos on how to do make bags, do a more detailed search in the forum and you should fine videos.

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  • pabloquintana

    In case you want private tutoring on bags you can look for Kazuyo here on the forums or I can assist. pablo.quintana at forastyle.com

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  • ottoline

    When stitching is a big part of  the bags detailing it's crucial these are done correctly at the right scale, offset and with the correctly materials pucker as they perhaps contribute to the overall look of the bags proportional aesthetic and detailing quality as the single most important detailed joint.

    You product is currently missing a lot of the juicy detailing and seam proportion, and materials techniques it needs to become a realistic product.

    Where you use the CLO3D internal stitching system or an external stitch that you can also import into CLO3D > you need to get that right for the bags materials and the hardware seam machine types you would use to create any custom luggage/ bag. This means you have a lot of rework to do on your bag as your stitch detailing is out of scale and proportion relative to that product. So you need to certainly do more learning work on seams, stitching and methodology.

    You choice of nylon finish is also out of context, as a texture material > nylons have a micro facet rendering difference to all other fabrics, they exhibit a stochastic randomness across their surface according to the creasing,(and in animation the time based frame steps)  this is why choice of fabric rendering approach will greatly effect the ability to make a fabric texture look like a 'true nylon', most people get this incorrect on their models and in their renders.

    The nature of the nylons reflectance on the yarn is a random event that creates a unique shimmer profile only inherent in this fabric texture. It is one of the hardest materials to render correctly, as the crease profile for nylons and luggage is a very specific 'crisp' almost crunchy fabric, so your simulation preset choice also needs to reflect this physical character as well as how all your sewing seams and angles work together across the garment. You have this wrong at the moment in your model. Do not under estimate how to approach nylons in rendering, as the pucker and micro creasing is everything that a nylon luggage good needs to include in the simulation in order to pull off the character that bags exhibit against all other goods. Technically this needs to be done at the outset of the project as it impact how you sew and model the item as you work.

    Above > see how these two nylon objects reflect both the environment and the objects in close proximity, across the micro faceted nylon weave. Not easy to digitize, it takes a very specific approach to the normal and bump maps such that the nylon reflects in this manner.

    The pucker and stitching from the CLO3D library resource needs to be also augmented with nylon type pucker crease maps and suppleness of the various nylon gauages. This can be done but needs to be aligned to how the toolset works at a scale that works with the engineered seam types your bags will use across the product.

    The detailing on a nylon bag is the 'sauce' in the finished good. Now how to approach it, what to look for, and then how to execute it with CLO3D so you have an easy time of the workflow. Most importantly know what to look for and why it matters.

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  • jne4sl

    ottoline,

    I think I get the gist of what you're saying.  I'm not a bag designer, but I have the same issues. I like the progress of a design in simulation, but on render I get a Claymation look, which I think is a combo of thicknesses not quite right, and lack of detail.

    But, I'm get a little lost in your analysis.  First when you talk micro faceting of nylon, do you think using CLO presets get that right at the mesh/fabric simulation level?  Or is that the first thing that requires a rethink?  For your pink sample, you have started with a high quality fabric image.  Is that scan based, or generated? It's certainly not the CLO provided image.  Is there a single seam in the sample? I see three passes of topstiching, and puckering, is that a single pucker?.  So you're saying there is isn't a CLO nylon pucker preset that's good enough.  Did you develop yours from scans/photos of real seams?  Finally, is adding tension to seams part of your process?  I'm just looking for general guidance on where to focus attention moving forward.

    I guess I'm also trying to understand the difference between puckering and topstitching as strokes in CLO (I get the distinction in their intended purpose).  Puckering has a long repeat, and I think it is shaped to follow the internal line.  Topstitching seems to be placed as segments, so if the repeat is long it will become choppy and will deviate from a curved sewing line.

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  • ottoline

    I will do a write up on it when I have some time over the next few days, however most of this you can do (pink sample) using CLO3D and you can even push their existing fabric library normal bump maps to 300% value to get weave micro faceting occurring in vray.

    Yes the pucker map is a rectangular map, however you can also create a special map that can be sliced and diced from a 'Trim sheet' layout. This means you can create all the products complex seam junctions and turn them into unitary modules at a 1Unit scale and multiplier factor. Something that makes any seam and stitch type junction possible across any garment complexity. And once you have that trim sheet set, you can save it as a seam type collection. This can also be automated in a non destructive manner, so it makes customizing stitches for any project a quick process. This is how CG games are done, and you can apply the same theory across an entire garment, which is how I have been making perfect seam transitions across digital garments for 8 years so they match the fabric perfectly. That way you can add in an amazing array of trim edges, elevating your garment detail work by a huge factor. 

     

    They should actually create a new workspace for this as it's possibly my single biggest aspect of my texture library for garments and products, and it's totally missing from CLO3D. Yet almost impossible for me to live without now that I have that in my workflow.

     

     

     

     

     

     

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